My Dirt Bender - Another Jounal

[el murdoque]

Hate to see one of the best threads on TB relegated to page 3 (anyone else remember the old UK Sun newspaper?), so thought I’d add another ha’penny’s worth.

On my own mini quest in search of dirt heaven, I dug out and dusted off my old Gallien-Krüger Diesel Dawg. It’s an ugly monster of a box, mostly empty inside, but it produces what is still to my ear one of the best bass distortion sounds there are. I’ve had to remove all my rarely used modulation pedals from the board and still play pedal tetris in order to accommodate it, but my god it was worth it. Stacked straight after the Broadcast (now out of the dirt loop and in the main chain) it does everything from G-K grind to wall of sound, and has a very flexible EQ section to boot. Add the other two pedals in the dirt loop, and it’s a busy night on the high-dependency psych ward I used to work on.

There’s a thread here about rehousing the Diesel Dawg in more modest enclosures, and I’ve been tempted, but its native kennel seems somehow appropriate, and I don’t mind that it’s elbowed some of the hangers-on off the playground. Focuses the attention on what’s important .

I have no idea if these are readily available on the used market, but seems just the ticket for a metal set.

Ebay currently holds one, based in Japan. Reverb and my local market are empty.
It seems it's a copy of the high gain channel of the 2001RB ?
Maybe other pedal builders have targeted that particular circuit, too?

 

[GrowlerBox]

Ebay currently holds one, based in Japan. Reverb and my local market are empty.
It seems it's a copy of the high gain channel of the 2001RB ?
Maybe other pedal builders have targeted that particular circuit, too?

You are correct regarding the pedal’s origin. I have no idea if any other commercial builder has reproduced the circuit, but I recall that a number of TBers built clones. If @johnk_10 hasn’t built one yet, I’m sure he could do it in his sleep. And make it about a quarter of the size.

 

[johnk_10]

You are correct regarding the pedal’s origin. I have no idea if any other commercial builder has reproduced the circuit, but I recall that a number of TBers built clones. If @johnk_10 hasn’t built one yet, I’m sure he could do it in his sleep. And make it about a quarter of the size.

i built a Diesel Dawg clone years ago and it's quite a bit smaller than the original (it was in a 1590BB).

i could probably built a new version in a smaller enclosure with all top jacks these days.

 

[GrowlerBox]

I’ve been playing around with the Hudson Broadcast; my usual practice session tone is with the toggle switch in the centre (low gain) position, with trim at about 9 o’ clock and volume at around 1.30 for unity. This would be uber clean, except that I drive it pretty hard with about 30 dB of boost from the pair of API pedals upstream of it (LLX & newly-acquired CMP). So-driven, the 3 “channels” on the Broadcast are now mild-to-moderate overdrive, distortion and fuzz, respectively, with the pedal running at 24 V internally.

The API pedals between them are capable of around 70 dB boost (30 from the CMP and 40 from the LLX), and actually remarkably clean, even when flogged like that (the LLX is running under 18 V, which helps). Feeding this into the Broadcast at pretty much any gain level on all channels introduces a heavily-gated, ripped-speaker effect, ranging from dimed fuzzface to barely-functioning, spitting, coughing muff depending on switch and gain position.

A small board with these 3 pedals and my HPF and/or my Genzler Magellan Pre/DI (which has an on-board HPF) depending on what I was running into, would easily cover any conceivable dirt (and compression/EQ) requirements that I could reasonably foresee. Obviously, a bigger board and stacked pedals offers more and rapid flexibility and a good deal of fun, but it’s a luxury.

Just another 15 cents (the NZ dollar being what it is) …

 

[el murdoque]

I finally picked up a Blackstone MOSFET that popped up in the classifieds awhile back, and I gotta say that I am amazed at how little I see these mentioned on Talkbass. It’s easily my favorite OD pedal at the moment (of course I’ve only had it for maybe 2 months, so still a bit of a honeymoon). I removed the bass capacitor from the red channel and set that one for high gain and leave the other channel on a barely dirty setting (basically only audible clipping when digging in) and the low-gain channel is a great always-on sweetener (what I leaned on a Darkglass Vintage for for many years) while the high-gain channel works well for what Ive always used a Russian Muff (TFR in my case for the last dozen+ years) for while being noticeably more dynamic/touch-sensitive than any Muff I’ve tried. I do wish the presence control was on the outside, but that’s really my only critique right now. If there is any low-end loss it is a plus for me, tightening without losing punch (which the DG Vintage also does nicely IMO).

I still see that as the ultimate device for when you want a minimal approach and play a vintage FSO into a vintage tweed amp. The Blackstone, running on battery, being your only pedal . . . such a nice vibe.

 

[el murdoque]

Some issues have arisen with the smallest board.

I did originally build it around the Broughton Studio One, getting a lot of function out of a Pedaltrain Nano.
However, that was a lot of function for my usual gigs, and I suddenly found myself in that metal band.
Replacing the Studio One with the Bassrig did bring me a fair bit closer to my tonal goals, but I found two things:
1. Even though I use reverb a lot, I don't need it at all in the metal band. It is rather distracting and muddies things up where they need to be tight.
2. With the current pedal order, I can get a great sound with the combo of the always on Bassrig and the Sonic Spark. The tone I get from stacking the Sonic Spark on top of the slightly grindy Bassrig is awesome, but in a mix, I would need a slight volume boost - when the distortion kicks in, the bass steps back a little.

My first Idea to address issue #2 would be to simply reverse the order of the comp and the Sonic Spark, so I can dial in a boost that gets not eaten by the comp. I would lose a fair deal of touch sensitivity, but might like the results enough to keep it that way.

My first Idea to tackle #1 would be to get another Strymon pedal in the same form factor, so I could make use of the fav switch - there would be no point in having that XS tuner sitting on one rail of the Pedaltrain if the other rail is empty.
The only other Strymons in that form factor are a delay - which I never got to work for me, and a chorus/vibrato.

 

[GrowlerBox]

Some issues have arisen with the smallest board.
View attachment 5480200

I did originally build it around the Broughton Studio One, getting a lot of function out of a Pedaltrain Nano.
However, that was a lot of function for my usual gigs, and I suddenly found myself in that metal band.
Replacing the Studio One with the Bassrig did bring me a fair bit closer to my tonal goals, but I found two things:
1. Even though I use reverb a lot, I don't need it at all in the metal band. It is rather distracting and muddies things up where they need to be tight.
2. With the current pedal order, I can get a great sound with the combo of the always on Bassrig and the Sonic Spark. The tone I get from stacking the Sonic Spark on top of the slightly grindy Bassrig is awesome, but in a mix, I would need a slight volume boost - when the distortion kicks in, the bass steps back a little.

My first Idea to address issue #2 would be to simply reverse the order of the comp and the Sonic Spark, so I can dial in a boost that gets not eaten by the comp. I would lose a fair deal of touch sensitivity, but might like the results enough to keep it that way.

My first Idea to tackle #1 would be to get another Strymon pedal in the same form factor, so I could make use of the fav switch - there would be no point in having that XS tuner sitting on one rail of the Pedaltrain if the other rail is empty.
The only other Strymons in that form factor are a delay - which I never got to work for me, and a chorus/vibrato.

How about a boost/buffer, like the (tiny) JHS Prestige? Wampler has a similar one, also small.

 

[el murdoque]

How about a boost/buffer, like the (tiny) JHS Prestige? Wampler has a similar one, also small.

Putting another pedal in to fix an issue like that feels like the wrong approach entirely - we're talking about a minimal pedalboard here.

 

[GrowlerBox]

Putting another pedal in to fix an issue like that feels like the wrong approach entirely - we're talking about a minimal pedalboard here.

My bad — I thought it was to replace the Strymon with something simpler.

 

[el murdoque]

Okay, to be fair, your suggestion would be a solution to both problems. I could take the cloudburst off the board and fill the spot with a boost, leaving me with a full board and no more dip in the mix when switching on the Sonic Spark.

The problem it brings is that I'd have to hit two foot switches instead of one to engage the heavier drive then.

 

[GrowlerBox]

The problem it brings is that I'd have to hit two foot switches instead of one to engage the heavier drive then.

If the pedals are alongside one another with the footswitches aligned, a couple of switch toppers (e.g. Barefoot Buttons) should make it easy to activate both with one action. Another possible solution might be a small loop pedal — another pedal, I know, but a Prestige (say) and a loop together could still be smaller (and cheaper) than a Strymon.

 

[sloppy_phil]

Some issues have arisen with the smallest board.
View attachment 5480200

I did originally build it around the Broughton Studio One, getting a lot of function out of a Pedaltrain Nano.
However, that was a lot of function for my usual gigs, and I suddenly found myself in that metal band.
Replacing the Studio One with the Bassrig did bring me a fair bit closer to my tonal goals, but I found two things:
1. Even though I use reverb a lot, I don't need it at all in the metal band. It is rather distracting and muddies things up where they need to be tight.
2. With the current pedal order, I can get a great sound with the combo of the always on Bassrig and the Sonic Spark. The tone I get from stacking the Sonic Spark on top of the slightly grindy Bassrig is awesome, but in a mix, I would need a slight volume boost - when the distortion kicks in, the bass steps back a little.

My first Idea to address issue #2 would be to simply reverse the order of the comp and the Sonic Spark, so I can dial in a boost that gets not eaten by the comp. I would lose a fair deal of touch sensitivity, but might like the results enough to keep it that way.

My first Idea to tackle #1 would be to get another Strymon pedal in the same form factor, so I could make use of the fav switch - there would be no point in having that XS tuner sitting on one rail of the Pedaltrain if the other rail is empty.
The only other Strymons in that form factor are a delay - which I never got to work for me, and a chorus/vibrato.

This is gonna sound horridly simple (I’m probably missing a reason you aren’t just doing this), but couldn’t you just turn the volume up on the Sonic Spark to compensate for the volume drop?

Also, I don’t see a chorus/vibrato as a terrible choice for metal. Especially if this is the kind of band that will have quiet moments in songs, a little modulation to add flavour seems perfectly sensible to me.

 

[el murdoque]

This is gonna sound horridly simple (I’m probably missing a reason you aren’t just doing this), but couldn’t you just turn the volume up on the Sonic Spark to compensate for the volume drop?

Also, I don’t see a chorus/vibrato as a terrible choice for metal. Especially if this is the kind of band that will have quiet moments in songs, a little modulation to add flavour seems perfectly sensible to me.

The reason is simple: The Sonic Spark sits in front of the comp, which acts as a limiter. Turning up the volume here won't result in more output, only more compression.

 

[el murdoque]

If the pedals are alongside one another with the footswitches aligned, a couple of switch toppers (e.g. Barefoot Buttons) should make it easy to activate both with one action. Another possible solution might be a small loop pedal — another pedal, I know, but a Prestige (say) and a loop together could still be smaller (and cheaper) than a Strymon.

Your solution is not entirely easy to achieve with the comp in the middle. Of course, one could reverse the order on the board without reversing the signal order, so the boost and the dirt are next to each other, but with a looper, that would not be easily done. The Morningstar ML-5 could do it, but it's way too big.


...and what in the 48 pages of this thread makes you think that I'm after a cheaper solution?
I live a frugal life, drive a cheap old car, own zero Rolex watches and rent a small apartment.
My entire collection of bass guitars is no more than three and I have but a single amp - and no intentions to get more of either. My only outlet for the quickly accumulating cash is pedals. ;-)

It might be a good idea to show a bit more commitment to the metal board.
Maybe changing the pedals entirely. I think I could experiment with the Blueberry on that board instead of the Sonic Spark - and while I'm at it, I could swap the comps, too - to get one of my Cali76s on there, which would look nice next to the Super Vintage.

 

[el murdoque]

Having a day off, I did try a few other combinations just now.

Cali76 and Lehle RMI comp
Blueberry, Fake Plastic Trees and the Sonic Spark, plus BDPG in various orders and combinations.

The best version (to my ear) was, surprisingly, the Sonic Spark. With the order of dirt and comp reversed, the Cali sounded much better than the Lehle.

And the idea of replacing the Strymon comp with the only other pedal in the same form factor that could also make use of the fav switch can be tested before I commit to buying one - by using Julia.

Here's what I wound up with.

The signal order is Tuner - Cali - Sonic Spark - Julia - Super Vintage.
I put the pedals in this order because the Sonic Spark is much flatter than the others and if I wedged it between the Cali and Julia, it's hard to get to the foot switch.

 

[el murdoque]

There are two pedals that reside in my mind. I've owned them before, but decided to sell - but have nothing but fond memories of them.
Namely the Barbershop and the DCX Bass.
The Barbershop, in my memory, had a very nice, subtle breakup that started as something more felt than heard and could go all the way to a much less subtle version. I also remember that there are no tone controls to speak of aside from a treble cut.

The DCX was the most touch sensitive and dynamic pedal I ever played and the tone controls were bass and treble - I remember saying it was able to make your bass sound more expensive with those.
I remember nothing bad about that pedal, though.

That's why I decided to re-visit that one. With my small board housing the Super Vintage and Cali, it could be nice to have also the DCX on there for a uniform "Origin Effects Fanboy" look.

 

[GrowlerBox]

There are two pedals that reside in my mind. I've owned them before, but decided to sell - but have nothing but fond memories of them.
Namely the Barbershop and the DCX Bass.
The Barbershop, in my memory, had a very nice, subtle breakup that started as something more felt than heard and could go all the way to a much less subtle version. I also remember that there are no tone controls to speak of aside from a treble cut.

The DCX was the most touch sensitive and dynamic pedal I ever played and the tone controls were bass and treble - I remember saying it was able to make your bass sound more expensive with those.
I remember nothing bad about that pedal, though.

That's why I decided to re-visit that one. With my small board housing the Super Vintage and Cali, it could be nice to have also the DCX on there for a uniform "Origin Effects Fanboy" look.

Nice. I have a Modèle B on the way (hopefully here on Monday). Your description is exactly what I’m hoping to experience.

 

[el murdoque]

I've been looking at the Modèle B as well. It's a nice idea. Consequent.
Plus, I do happen to own that Korg Pitchblack XS tuner that lives on only one rail of the pedalboard and these two could be a nice match.
I'll get one of these at some point, I'm fairly sure. I want to experiment with stacking dirt using the Barbershop as a very mild device to send into other OD pedals.

 

[el murdoque]

...but first, the DCX shall be revisited. I've found one and bought it. It should be with me early next week.

 

[mouthmw]

If you don’t want it to cut your high end, just set it to “flat” mode. That disables the adaptive circuitry for high end attenuation.